Gramophone Classical Music Awards 2017: the Shortlist
Search This Blog. Wednesday, May 31, Tigran Mansurian, Requiem. Labels: modern armenian choral-orchestral works todaytigran mansurian requiem rias kammerchoir muchener kammerorchester alexander lienreich gapplegate classical-modern review.
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Hi-Res Downloads. This is the fourth dance-related Pentatone programme with the youthful-looking Yamada now 37principal guest conductor with the Suisse Romande. These come as a breath of fresh air after the elaborate scoring of the Roussel, although the Suisse Romande players certainly respond to its challenges.
Engineer George Klabin recorded these performances for his radio show, and got an intimate, yet dynamic sound. Mats Eilertsen : Rubicon. The music is understated, mesmeric and consistently captivating, and — despite our reservations in the lab panel below — instruments still sound crisp, clear and natural.
We get all the repeats, because Perahia says he likes to introduce variation there, adding ornamentation, etc. Conspirare : Considering Matthew Shepard. A gay student at the University of Wyoming, in Shepard was kidnapped, beaten and left to die tied to fence in a field, his funeral later picketed by the infamous Westboro Baptist Church.
In its scope, structure and power, this is a modern oratorio, albeit as grounded in country music as it is in the sacred tradition. Till Bronner : The Good Life. It may well be a bit too formulaic for some ears — so high marks for technical, if notched down a little on artistic, presentation. Nels Cline : Lovers. Here, she rises to the challenges of music written for Oistrakh, whose New York benchmark recording is now on Sony. Jasper Hoiby : Fellow Creatures. This is an ensemble set, superbly recorded and with real impact and insight to underpin its fine musicianship.
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These include: the overlay of black and white notes across the hands in the beautiful little character piece Boating; the use of alternating metres in Change of time which references the style of the Romanian Christmas carols known as Colinde and in Unison regarded as the first piece of the entire collection to be composed ; a generally very fluid tonal and harmonic language that draws on both his experience of traditional music and the radical developments of his contemporaries; the use of counterpoint and imitation in Staccato and legato and of mirror symmetry between the hands in Fourths; and the rhythmic drive and syncopation that sometimes results in riff-like passages such as are found in Staccato.
Bartók: Mikrokosmos Book 5 & other piano music
At the heart of the set lies the exquisite Major seconds broken and together, whose mundane title gives no hint of its expressive content. Read less. Bagatelles 14 for Piano, Op.
Improvisations 8 on Hungarian Peasant Songs, Op. Review This Title Share on Facebook. The perfect gift for the classical music enthusiasts! Gift Certificates. Copyright ArkivMusic, Tom Service explores the extraordinarily original music of Bela Bartok and discusses Bartok's piano music with pianist Cedric Tiberghien. Tom service explores the extraordinarily original music of Bela Bartok. This Hungarian composer, who was a contemporary of Schoenberg and Stravinsky, managed to avoid the direct influence of these two giants of modern music and created his own musical style, partly inspired by the folk music that he discovered and recorded onto wax cylinders in the Hungarian countryside before the First World War.
His six string quartets are unmatched for their intensity and invention, and as a concert pianist himself, he wrote much groundbreaking piano music, including three concertos. See all episodes from The Listening Service. Concerto for orchestra, 5th movement. My poor love is ill folk song. Mikrokosmos Book 1 No. String Quartet no. Mikrokosmos Book 2 No.
Hungarina Dance no. My little god-daughter folk song. The brass horseshoe of my bay steed is very shiny folk song. Out of doors, 2nd movement Barcarolla. Out of doors, 3rd movement Musettes. Out of doors, 5th movement The Chase. Piano Concerto no. Tom Service poses a very simple question with a not-so-simple answer. From babies to Mongolian throat singers: whose voice is the most extreme of all? How Schoenberg opened a new cosmos for composers and listeners to explore.
Bass is everywhere, but why do we enjoy it? Join Tom Service on a journey of discovery. Join Tom Service on a musical journey through beginnings, repetition and bass lines. An odyssey through the musical universe, presented by Tom Service.
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Show more. Show less. Choose your file Higher quality kbps Lower quality 64kbps.Wigmore Hall. Bartok — Sonatina; Pieces from Mikrokosmosvol.
For so fine a pianist, and so fine a composer of music involving the piano, there is not so much solo piano music as one might expect; or rather, there is not much larger-scale piano music.
Even the Sonata, heard here as conclusion to the first half, is relatively brief. Before that, we heard two sets of short pieces. The Scherzo, no. Variation form inevitably brought echoes of Beethoven too. Music is music; it is good or bad, or perhaps something in between. The first number bore a nostalgia born of still greater mastery, wonderfully conjured up by the pianist with great depth of tone and, I think, of soul.
The Sonata undoubtedly showed the composer of the first two Piano Concertos at work. Tiberghien brought the world of the s very much to the fore; rhythmic comparisons with Stravinsky more than once suggested themselves. Integration is more the thing, as it was here in performance too.
Disruptions thereby sounded all the more telling when they came. Build-up to climaxes that were perhaps never quite climactic was unerringly shaped. Perhaps that is another way of saying the same thing.
With an almost Schoenbergian wealth of information and Mozartian melodic profusion, this made for a thrilling conclusion. Likewise the coherence of apparent irregularity. Newer Post Older Post Home.Wigmore Hall. Bartok — Sonatina; Pieces from Mikrokosmosvol. For so fine a pianist, and so fine a composer of music involving the piano, there is not so much solo piano music as one might expect; or rather, there is not much larger-scale piano music.
Even the Sonata, heard here as conclusion to the first half, is relatively brief. Before that, we heard two sets of short pieces. The Scherzo, no.
Variation form inevitably brought echoes of Beethoven too. Music is music; it is good or bad, or perhaps something in between. The first number bore a nostalgia born of still greater mastery, wonderfully conjured up by the pianist with great depth of tone and, I think, of soul. The Sonata undoubtedly showed the composer of the first two Piano Concertos at work.
Tiberghien brought the world of the s very much to the fore; rhythmic comparisons with Stravinsky more than once suggested themselves. Integration is more the thing, as it was here in performance too. Disruptions thereby sounded all the more telling when they came. Build-up to climaxes that were perhaps never quite climactic was unerringly shaped. Perhaps that is another way of saying the same thing. With an almost Schoenbergian wealth of information and Mozartian melodic profusion, this made for a thrilling conclusion.
Likewise the coherence of apparent irregularity.
How, after all, could it not? Whilst others become enraged or, occasionally, enraptured by what Katie Mitchell might have done to a piece of drivel by Donizetti, a work surely quite undeserving of her talents as a director, the rest of us owe the Royal Opera and all concerned with this production a heartfelt vote of thanks.
I should eagerly go again, if only I could make any of the dates work; I urge you, if you have not yet seen and heard the production and can, not to hesitate. First and foremost is the work itself. One might actually draw another comparison with Busoni: unquestionably one of the greatest pianists of all time, yet with music unforgivably ignored in this th anniversary year that will remain a still greater testament. The compositional language and structure intrigue.Béla Bartók - Out of Doors
One might, I suppose, call the latter traditional; it is certainly not experimental. Likewise the vocal writing, which owes something to Wagner, or perhaps better to post- Wagnerism, but no more than Strauss does, and probably less. Not only did Hussain draw out playing from the Orchestra of the Royal Opera House of a quality of which we know it capable, but which has not always been heard recently, save for under a small number of visiting conductors such as Semyon Bychkov ; his pacing and palpable understanding of the way the music and the musical drama work would have had one believe he stood at the helm of a work central to the repertory.
Clearly it should be, but opera houses, alas, too often know better. In the musical language, one hears strong French elements too: Debussyan and Ravelian elements I even thought of Vaughan Williams at timesor at least parallels, albeit within a more Germanically-structured framework. Not a note seems to be wasted, moreover; in this retelling of Sophocles, which involves a good deal of material implied or spoken of in the original tragedies, yet never seen on stage, the use of music not only to serve drama but as drama inevitably has one, once more, thinking of Wagner.
So too does the staging. Interaction and support were indeed the hallmarks of production and performance throughout. I am not entirely sure, or indeed at all sure, why the Sphinx lived within an apparently crashed aeroplane, but that offered nevertheless senses of wonder and of surprise, as well as of revelation.
After all, the story is propelled by things and people not being quite what they seem to be as well, of course, as having been condemned by Fate to do precisely what they have been ordained to do.
Covent Garden assembled an impressive cast too, considerably more than the far from inconsiderable sum of its parts.
A lifetime was convincingly, powerfully portrayed, with fine command both of musical style and of verbal response. Sarah Connolly certainly exhibited those qualities in her Jocaste, with acting to match; her voice, however, sounded thinner than I can recall.